Gerne möchte ich Sie auf das neue Jahresprogramm des Münchner Kammerochesters aufmerksam machen.
Neben einer Vielzahl von programmatisch interessanten Konzerten, widmet sich das MKO am 17. Dezember 2015 auch wieder einem Werk Karl Amadeus Hartmanns: der 4. Symphonie für Streichorchester.
Dieser Link führt Sie direkt zum Saisonprogramm, das dem Thema “Isolation” gewidmet ist:
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Karl-Amadeus-Hartmann-Gesellschaft e.V.
Invitation to the Ordinary General Meeting 2016
On Thursday, November 10, 2016, at 6 PM on the premises of the Karl Amadeus Hartmann Society
Franz-Joseph-Str. 20, 80801 Munich
Agenda:
Februar 1, 2017, 20.00 Uhr, KAHG
Breakout Ensemble, #Listen#Out
Works by Mauricio Kagel, Katharina S. Müller, Hans-Henning Ginzel, Jacopo Salvatori and Samuel Penderbayne Katharina S. Müller (violin), Hans-Henning Ginzel (violoncello) and Jacopo Salvatori (piano)
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May 3, 2017, 20.00 Uhr, KAHG
„Podium junger Komponisten“, Lieder in der Fremde [“Podium of Young Composers”, Songs in Foreign Lands]
Concert and discussion with Caio de Azevedo, Alexander Mathewson, Claas Krause, Henning Ginzel, Tom Smith, Hao Wu and young performers; selection and supervision during the rehearsal process by Moritz Eggert (cooperation with the Munich University of Music and Drama) and Andreas Hérm Baumgartner (conductor, artistic director, discussion leader)
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May 16, 2017 (Exhibition until 18 October 2017), 20.00 Uhr, KAHG
Alexander Lonquich – Grenzgänge [“Crossing borders”]: Karl Amadeus Hartmann and Robert Schumann
Concert with graphics by Alfred Hrdlicka
Concert, talk, exhibition, lecture; with Alexander Lonquich (piano) and Andreas Hérm Baumgartner (moderator)
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October 18, 2017, 20.00 Uhr, KAHG
Thomas Zehetmair and Ruth Killius
Concert with discussion; Thomas Zehetmair (violin), Ruth Killius (viola) and Andreas Hérm Baumgartner (moderator)
Works by Karl Amadeus Hartmann, Nikos Skalkottas, Bohuslav Martinů, Heinz Holliger and Giacinto Scelsi.
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November 17, 2017, 20.00 Uhr, KAHG
“Podium of Young Composers”, Part II
The International Karl Amadeus Hartmann Society mourns the death of its founding member Pierre Boulez. With Pierre Boulez, the music world has lost not only a conductor and composer with a voice all of his own, but also one of its most important and in many ways formative personalities.
How close he felt to Karl Amadeus Hartmann became clear during his last appearance at musica viva on September 30, 2011 at Munich’s Prinzregententheater, which featured a magnificent performance of Boulez “Pli selon pli”. He never tired of referring in interviews and personal conversations to his beginnings as a composer and conductor and his first musica viva concerts, emphasizing Hartmann’s formative role. Thinking of Karl Amadeus Hartmann and Munich always warmed his heart. The impulses Boulez received from Hartmann and the idea of a platform for the freedom of thought, the freedom of art and for the social responsibility of art, which took shape in musica viva, were manifold.
In his usual modest but sustainable way of “acting” in the background and quietly pulling strings, Hartmann implemented an idea in 1960 and recommended Pierre Boulez for Bayreuth. Interestingly enough, this was combined with a very concrete recommendation for the work, which was finally followed in exactly the same way in 1966. In a letter to Wieland Wagner dated June 10, 1960 Karl Amadeus Hartmann wrote:
“I would like to draw your attention very briefly to a real artist who will certainly be considered for the Bayreuth Festival one day. It is Pierre Boulez, who is an outstanding composer, music writer and conductor, probably unique in his universality. I could imagine that he would be particularly suitable for ‘Parsifal’. This is just a little advice from my side.”
Parsifal was to become his first work in Bayreuth, the Jahrhundertring 1976 (directed by Patrice Chéreau) his masterpiece, with which he set a milestone in the history of interpretation.
Thus on September 30, 2011 in the musica viva a first circle closed, which is now completed on January 5, 2016.
(AHB)
Further links:
Pierre Boulez – Nachruf von Alexander Kluge (Spiegel online)
Zum Tode von Pierre Boulez – von Reinhard Brembeck (SZ)
Reaktionen auf den Tod von Pierre Boulez (Die Welt online)
Sprengmeister der Moderne – von Frederick Hanssen (Tagesspiegel)
Zum Tod von Pierre Boulez – Lucerne Festival Academy, Videos (NMZ)
On January 7, a seminar of the Musicological Institute of the Ludwig-Maximilians-Universität took place in the rooms of the Karl-Amadeus-Hartmann-Gesellschaft at 2 PM –
it was dedicated to the topic “Institutions and Festivals of New Music”. The second part of the seminar dealt with Karl Amadeus Hartmann and musica viva. Prof. Dr. Wolfgang Rathert as well as Andreas Hérm Baumgartner, the director of the Karl Amadeus Hartmann Society, described to the twelve students of musicology the early days and the basic ideas of the musica viva concert series founded by Hartmann, which still exists today and is dedicated to contemporary music. They ranged from the 1920s, more precisely from the concert series “Die Juryfreien” founded by Hartmann (per se his first field of experimentation, in which he also included literature and the fine arts), through Hartmann’s compositional work and his attitude during the years of National Socialism, to his early death in 1963.
Karl Amadeus Hartmann – with his attitude of refusing to be appropriated by the Nazis and his all the more active role abroad – sought in each of his works international solidarity with allies in spirit and put a concrete message ot it. Be it through the use of forbidden texts and melodies or with the help of Jewish songs. Especially the use of the Jewish song “Elijahu hanavi” in all compositions written between 1933 and 1945 became Hartmann’s lament for the extermination of the Jewish people and the persecution of all opponents of the regime. Andreas Hérm Baumgartner used historical events – such as the Seizure of control, the enactment of the Nuremberg Laws, the November Pogroms and the beginning of the war – for illustration and showed Hartmann’s compositional reaction in musical examples.
The International Karl Amadeus Hartmann Society mourns the death of its founding member Maestro Kurt Masur.
As the New York Philharmonic announced, the long-standing principal conductor of the Leipzig Gewandhaus Orchestra and the New York Philharmonic passed away in Greenwich (USA) on Saturday morning, December 19, 2015, at the age of 88. The outstanding conductor did not only see himself as a performing musician, but also as a “homo politicus”, as Federal President Joachim Gauck emphasized in a statement. “Viele Menschen werden niemals vergessen, wie er sich im Herbst 1989 für grundlegende Veränderungen in der DDR, für die Freiheit der Menschen und die Demokratie eingesetzt hat.” [“Many people will never forget how he stood up for fundamental changes in the GDR, for people’s freedom and democracy in autumn 1989.”] Kurt Masur lived music as a humanistic message.
Enclosed you will find links to some press articles:
BR Klassik, Nachruf Kurt Masur
Frankfurter Allgemeine, Nachruf Kurt Masur
On June 16, 2015 Vladimir Jurowski – one of the most renowned and interesting conductors of his generation – and Vladimir Spivakov (violin) performed Karl Amadeus Hartmann’s “Concerto funebre” with the State Academic Symphony Orchestra of Russia “Evgeny Svetlanov” at the Tchaikovsky Concert Hall in Moscow.
On October 26, 2013 the renowned Henze researcher Prof. Dr. Peter Petersen gave a lecture for the PROJEKTINSEL HARTMANN-HENZE as part of the “Karl Amadeus Hartmann Year 2013” (2012–2014) entitled “Henze und Hartmann.
Anmerkungen zu einer asymmetrischen Künstlerfreundschaft” [“Notes on an asymmetrical artistic friendship”], in which he traced their personal and artistic friendship with reference to the extensive correspondence between the two composers.
We would like to make the lecture accessible to the public. You can find it under the menu item “Musicological publications” here in the Archival holdings!
Under the title “Sounds of Peace” the internationally renowned peace, conflict and development researcher Prof. em. Dr. Dr. Dieter Senghaas (University of Bremen) worked out a a capital, trend-setting presentation for the PROJEKTINSEL HARTMANN-NONO as part of the “Karl Amadeus Hartmann Year 2013” (2012–2014).
The question will be explored to what extent art as a so-called “soft indicator” can contribute to de-escalation or, as an early warning, draw attention to impending undesirable developments in a society’s mental budget.
Especially composers like Hartmann, who are sensitive to socio-political grievances, who use seismographic antennas to perceive developments that are not yet obvious, to detect their potentially fatal dynamics and to deal with them in their art, are particularly suited to this task. Research speaks of the ability of “early warning”.
Years before 1933, Hartmann had already warned in every possible way of the danger of National Socialism for society, humanity and humanism. In each work he dealt with this in a different way, invoking resistance in alliances between cultures, religions and peoples; he pointed out alternatives, drew a different world view. It is also astonishing that in his last work, the “Gesangsszene” for baritone and orchestra, he once again demonstrated the ability of “early warning”: assimilating texts by Jean Giraudoux, he conveys an apocalyptic vision of the end of a civilization drawn into a spiral of death.
The initial dynamic of progress does not only turn into regression, but into decline, into the “evil of the great empires, the deadly evil”. Downfall of the banking world, social structures, nuclear disaster, war and the most deadly evil: that even the “treasure of souls” is lost. The lecture was held on March 20, 2013 in the Munich Stadtmuseum.
Read the complete lecture under the menu item “Musicological publications” here in the Archival holdings!
The deserving Dutch label Challenge Classics has ensured that the Hartmann discography has been enriched by some significant contributions.
A new complete recording of Hartmann’s eight symphonies with the Netherlands Radio Philharmonic was released in early 2014. These are live recordings under the direction of conductors Ingo Metzmacher, Christoph Poppen, Michael Schönwandt, Markus Stenz, Osmo Vänskä and James Gaffigan – on three SACDs. The FONO FORUM spoke of a “new reference” in view of the consistently outstanding artistic and tonal quality of the recordings.
A new recording of Hartmann’s opera “Simplicius Simplicissimus” (in the revised version of 1957) was also made with the Netherlands Radio Philharmonic. The title role is sung by Juliane Banse, Markus Stenz stands at the podium of the orchestra. This recording is based on a live performance on November 24, 2012 at the Concertgebouw Amsterdam.
Finally, violinist Linus Roth presents his interpretation of the “Concerto funebre” on Challenge Classics – coupled with works by Mieczyslaw Weinberg as well as the first recording of an unfinished violin sonata by Dmitri Shostakovich.
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